karolina potębska | PORTFOLIO |
gmail phone
potebska.karolina@gmail.com +48 600 495 889
address location
Partyzantow 112, 21-050 Piaski, Poland KRK – LBN – CPH - WAW
skype
potebska.karolina
Karolina Potębska 04.06.1992 | POLAND • languages Polish English French Latin Danish • • • • • • • • •
/native /B2/C1 /A1 /basis /beginner
drawing painting sculpturing welding, wood/metal work rendering & post-production editing & printing models making class B driving licence sense of aesthetics
• Autodesk 3ds Max + V-Ray
EDUCATION 2017
2015 - 2017
MA in Interior Design Jan Matejko Academy of Fine Arts in Krakow Faculty of Interior Design | 4 terms
2016/2017 Erasmus Student Exchange Program KADK - The Royal Danish Academy of Fine Arts in Copenhagen Schools of Architecture, Design and Conservation Spatial Design, Perception and Detail graduate programme | 1 term 2015 2011 - 2015
BA in Interior Design Jan Matejko Academy of Fine Arts in Krakow Faculty of Interior Design | 7 terms
• Autodesk AutoCAD • Corel DRAW • Sketchup • Adobe Photoshop • Adobe Indesign • Adobe Ilustrator • Adobe AfterEffect • MS Office
COLLABORATIONS ‘Sacrum Profanum’ Music Festival I collaborating artist ‘Energy-Self/ie-Space’ videomapping installation 2016 | Krakow | Malopolska Garden of Arts AAIS Architectural Association Interprofessional Studio I performance assistant ‘Superposition’ interdisciplinary event 2016 | Vienna | MuseumsQuartier: Architekturzentrum Wien ‘Res Extensa’ performance / installation 2016 | Krakow | Malopolska Garden of Arts
ACHIEVEMENTS / AWARDS / COMPETITIONS
Passionate about the art & design industry, I wish to expand my knowledge and expertise in all related fields. Focusing foremost on the user, I examine the sociological relation within the space, culture and local context. My in-depth sensitivity and creativity allow me to efficiently find myself into professional career as architect / interior designer.
Rector Scholarship for the Talented Students and Outstanding Learning Achievements in the academic year 2015/2016 l laureate International Architectural Competition of Re-Designing The Gallery of Contemporary Art ‘Bunkier of Art’ in Krakow with KJ Architects l project distinction ‘Space Re-loading’ International Exhibition at 3rd International Biennial of Interior Design INAW in Krakow l ‘Bunker of Art’ project distinction
EXPERIENCE 08/2016
10/2014 - 11/2015
Architectural Competition of Re-designing The Gallery of Contemporary Art ‘Bunkier Sztuki’ in Krakow l team member KJ ARCHITECTS • Krakow • 1 month • analysis of the competition regulations • concept designing • structural model making INTERIOR DESIGNER l part time & full time contract PATYNOWY paint & furniture | Krakow | 14 months • interior design consulting • photo stylist and trend watcher • personalised furniture design making • show room assistant, online shop supervising, orders making, stocks checking, accountancy and electronica correspondence
07/2014 - 08/2014
EXHIBITION & GRAPHIC DESIGNER l intern INTEORIA | Krakow | 1 month • designing team member • CAD floor plans making • exhibition design concept • technical and executive 2D drawings exhibition elements • graphical preparation of the exhibition materials
08/2013 - 09/2013
ARCHITECT ASSISTANT l intern FRESCO architecture & interior design studio | Lublin | 1 month • site measurements • 3D modelling and rendering • materials calculations and budget estimations
International Research Conference at 3rd International Biennial of Interior Design INAW in Krakow l ‘Bunker of Art’ project presentation ‘Sybilla’ National Competition of Exhibition Event of the Year with INTEORIA along with curatorial team l ‘Made in Poland’ exhibition in Stalowa Wola Regional Museum | distinction of the Polish Minister of Culture and National Heritage Rector Scholarship for the Talented Students and Outstanding Learning Achievements in the academic year 2013/2014 l laureate 36th National High School Artistic Competition l finalist in the Art History section
| CONTENTS |
/TeatrOn / /Flat 4|2 /Apart / /ROLLit /
revitalization of the building on Jan Brozek Street in Krakow
BACHELOR GRADUATION PROJECT
Revitalization of the building at DÅ‚uga 72, conversion for the purposes of Magazyn Form Teatralnych
6 12 20 22
HOUSE
MASTER GRADUATION PROJECT
Microapartments - network of urban, habitation units affecting community life
26 42
multifunctional seat
Transformation of functional and spatial assumptions of Gallery of Contemporary art - Bunkier Sztuki 3th INTERNATIONAL BIENNIAL OF INTERIOR DESIGN IN KRAKOW
46
/TeatrOn
revitalization of the building | Jan Brozek Street | Krakow
6
STEPS OF SPATIAL TRANSFORMATIONS
scene is the center /other functions are arranged arround
Project of a multifunctional modern, cameral theatre. Four utilitarian floors make up space for artistic activities, living zone, common relax-discussion zone, office part and a cafe. A stage - designed as a ‘cube’ that goes through every floor - provides the most crucial architectural element. A moving platform is installed inside the cube which allows to decide about the place, where the performances or rehearsals happen. New architecture combines three original assumptions, uses the city as a background for the stage, to which the space is “subordinate”, it is dynamic thanks to the introduction of the shift into the original frames of the building. Quartered division of functional zones refers to the urban arrangement of the cities and the resulting divisions Recurring theme of the city makes a context for the architecture as well as for the creation of man. But the suggested division is not a hard limit. There is a possibility to change functions between specific zones. What is more, the entrance elevation is a space for multimedia projections (or summer cinema). Theatre activities can use every part of the building.
scene is placed on the edge of the building /”taken out from the city’
scene occurs in several places, uses internal facades /the audience, commercial and residential functions are in the center
final form combines the most important features of these assumptions /new architecture is readable, variable, sensual
Possibility to transform gives a wide spectrum of action, allows to appreciate traditional assumptions of theatre without destroying its fundamental meaning. Indissoluble actor- viewer relation gains new common ground.
ENTRANCE VIEW
functional divisions are variable
7
STREET VIEW
scene audience workshops private space
8
auditorium |ground floor
relax zone |first floor
9
shared zone |second floor
bedroom |second floor
used materials: polished concrete | glass of varying transparency | metals | mirrors | the interior design is based on the use of a wide range of shades of white with diversity in texture and gloss | panels used along the glass walls allow to regulate the flow of light to the interior | control of angles of their setting introduces a feeling of transience | the panels used in the cube are piercing the floors - stage, they have a similar function, but also let decide on the degree of openness to the rest of the building | architecture that is sensual in perception is like a “ white card “ for the theater, which action, movement, colored lights, sounds and words may find their own spaces and meanings |
10
11
/second floor
/ground floor
/section B-B
/first floor
/section A-A
BACHELOR GRADUATION PROJECT 12
Revitalization of the building at Długa 72, conversion for the purposes of Magazyn Form Teatralnych
LOCATION
IDEA
SPATIAL ACTIONS
72 Dluga Street, Krakow
Structure of the Theatre Forms Warehouse project is the result of the observation of the character of the architecture and functioning of Dluga Street. In the place where the Hartwig’s warehouse is located, an interruption of the continuity of the buildings’ contour occurs. The existing building is set back in relation to the adjacent tenements thus enriched with a courtyard from the street. This arrangement sets this place against the background of the area. This, in turn, provides a compact backdrop for the new customized spatial activities . The strength of the interaction of architecture in Dluga street is its consistency, uniformity of architectural scale, similar details, similar-sized window openings. Project of the expeditionary - commercial house of the Krakow branch of the ‘C. Hartwig’ company shareholders is the first major building designed by Ludwig Wojtyczka in independent Poland. It was created in 1920 in the shape of a letter U. The building housed the offices and warehouses. The entirety has a reinforced concrete structure filled with bricks. The natural form of the materials was exposed by emphasizing concrete bolts and carefully arranged brick walls.
OPENING the space of the artistic activities to the city gains a lot of meanings. SPACE of Krakow is annexed to the new architecture. The functioning of urban space, the life of the people is an inspiration which is translate into artistic actions. Street life is a natural BACKGROUND for ‘inside happening’. Mastering the architecture in the FRAME is difficult, however, applying the GRAPHIC FRAME letting in the LIGHT is a strong accent. Light plays an important role in the functioning of the new space. Its FLOW is consistent with the direction of the leading architectural footbridges. Daylight “flows” through the architecture of the façade - the EYEPIECE, through the courtyard reaches the interior of the existing building to ‘get outside’ through glass corners. Leading zones are additionally lit by horizontal skylights. This procedure is essential for the functioning of the new architecture in the immediate vicinity. The DYNAMICS of the facility functioning allows it to stand out in space, the neighborhood. STRUCTURE’S task is to INVOLVE the recipient to MOVE on its PATHS and CONTRIBUTE to the artistic space. Theatre Forms Warehouse is primarily a PLACE for social INTERACTION, public space conducive to the exchange of experiences and disobliging rest.
/emphasize areas important because of function and composition /using the courtyard in front of the building
/zones connections /building opens up for two streets
/the recipient is carried out by new paths through preserved architecture
/filling the gap between the buildings /new forms intersections creates eyepiece for existing architecture
13
/street view
PROJECT GOALS Theatre Forms Warehouse is a multifaceted issue, combining the essence of the functioning of the designed space. The key word refers to the original function of the building used - HARTWIG’S WAREHOUSE but it is an inspiration and starting point for further reinterpretations. Theatre Forms Warehouse is also open to a multitude of interpretations and meanings, operating in the consciousness of the viewer from the traditional forms to a modern approach and the relationship between the actor and the audience. The new space is a MEETING PLACE for artists from different fields of art related to the wider activities of the theater. This is a place for CREATIVE WORK, WORKSHOP IMPROVEMENT, EXCHANGE OF EXPERIENCE. And finally, a space for SHARING ART with others, INFECTING WITH ARTISTIC ACTIVITIES (associated with theater, performance art, happenings, dance, visual arts) and their promotion.
A key issue for the functioning of the new materials in the project is its consonance with the existing facade made of red brick with reinforced concrete visible bolts and the nature of the buildings in Dluga Street. The new facade, advanced to the frontage of Dluga Street, except for the partial glazing ( ‘eyepiece’), is covered with a transparent concrete, which is a monolithic surface, distinguishing among the neighbors. Walls of the neighboring buildings are covered with concrete containing glass fiber absorbing and reflecting the light. The material having a similar effect is used on horizontal surfaces - the outer region of the lot and in front of the building. This helped to create a common background for the newly created architecture. Points of fiber during a day reflect light, illuminating the background for the new form. However, after sunset material shines like a starry sky.
/interior of the new structure
14
MATERIALS USED IN NEW ARCHITECTURAL FORMS
LIGHTING AND RECEPTION OF THE ARCHITECTURE - artificial lighting Using artificial lighting, the architecture also dominates the surroundings. Illuminated STRUCTURE penetrating into the existing architecture also sets FLOW OF LIGHT. It continues inside the old form to get out and enter the surroundings through the light emitting corners. New structure’s FACADE , illuminated from the inside, becomes an image of moving shadows. The materials used
on the walls of neighboring buildings and in front of the structure subtly reflect the light, creating together with the sky a glittering background for the new structure. STAGE and WORKSHOP SPACES are equipped with numerous reflectors attached to the ceiling structures. OFFICE SPACES beside the ceiling light panels are equipped with screens that display any frame - landscape and also emit light.
/internal theater hall - closed
/internal theater hall - open
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- daylight The new FORM, opening to Dluga street uses a large surface of glass and transparent concrete. Glazing can be cloaked with sliding horizontal blinds whenever necessary. Transparent concrete will be a surface for the game of shadows visible to passers-by during the activities . Glass roofing over the courtyard during the day illuminate the interior of the structure, after sunset it lets the sky be the backdrop for the architecture and activities. The blinds beneath the roof structure also enable the regulation of light flowing from above. The inner theater hall works similarly, thanks to movable panels that hide in the upper zone of the room, it can open or close to the rest of the environment. Daylight, in full “opening� of architecture, penetrates it, pointing to and highlighting the distinctive communication paths. Glazing of the vertical corners in the existing part of the architecture opened it to the environment and allowed the illumination of the interior.
INTERIOR MATERIALS 16
The floor inside the new form is, in contrast to the exterior, a bright natural stone which reflects the light. / Other horizontal surfaces and poles at the level 0 in the new part are made of polished concrete. Reception and restaurant desks are made of black metal. Seats refer to the color of the brick. /The interior of the existing part retain its industrial character. It is enriched with an important steel structure inside the theater and on the workshop floor. /An overhead acoustic panels placed inside the theater relate to the character of the exterior facade of the new form. Closed - they cut the room from the environment, forming a compact composition. Open - they reveal glazing, open room to light and the surroundings.
/entry zone
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/workshops spaces
/offices /cafe
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BASEMENT:
GROUND FLOOR
FIRST FLOO
-parking -server room -technical rooms -warehouses -mezzanine
-entry zone -reception -cloakroom -cafe -kitchen -technical rooms -toilets -offices -theater hall
-space for ac -offices -technical ro -toilets -relax zone -cloakrooms
CONSTRUCTION 19
- Internal design Planning a new function forced setting the new construction into the existing architectural structure. Obtaining an open internal theater hall was possible by getting rid of the existing floors in this part of the building. This required the insertion of a new structure as a supporting girder frame. The structure of the design is also the basis for the suspended acoustic panels filling the interior of the theater. The construction of the amphitheatre auditorium has its foundations in the basement, dividing the space into smaller “cells” used to store the necessary theater elements. The stage was equipped with a mobile platform, which moves to the basement. making it possible for the new elements to appear from the bottom during the artistic actions.
- The outer structure Designed structure filling the area of the lot is based on steel frames. Balconies were suspended above the stage in the ties.
OR:
SECOND FLOOR:
THIRD FLOOR:
ction
-balconies: audience exibition space -rooms with bathrooms -warehouses -relax zone -cloakrooms
-balconies audience exibition space -rooms with bat -workshops spaces -warehouses -toilets
ooms
s
The level of the scene has been supported on poles placed rhythmically on the ground floor, which replicate the rhythm of protruding concrete transoms of the old building. Rods supporting the balconies as well as lighting designs are fixed to the frame. Under the construction is also mounted a roller shutter system that shuts-off the amount of light depending on the need. Above , supporting the main construction, there is a raised structure of the glazing , adding the light to an open stage and a smaller inner courtyard.
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/Flat 4|2
extension unit
grates are making distance from existing building glazings
situational map localization: Plac
na Groblach 3 | Krakow
steel structure movable shutters - heated containers for water
A reflection of the flat ‘s functional plan ‘made’ on the wall was the starting point for the project. It helps create a vertical dependences tree of spatial inhabitants needs.
/section B-B
/section 0-0
/section 1-2
/section 3-4
/section A-A
/section 5-6
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Apart
HOUSE
- a vision of future living
/place for living | safety /nature | freedom
view from Vistula river |Krakow The project is a response to considerations about future of living in cities. The Apart House is dedicated to an architect who also works in the place of residence. The main idea of the project is to use the ‘energies’ of the city (flow of people, nature and virtual technologies). Thanks to the variability of the location of individual zones, one can appropriately “stay” in public space or “hide” over it. One of the basic assumptions of the project is to determine the functionality of a new quality of life for a person living in a building. This is a division into zones, with the possibility of multiple combinations. The design base is a solid body - a gate. Constant element - it’s an inflatable cube, with residential spaces. the movable element is – work cube (office, meeting place...). The cube can move over the height of the structure, giving it the ability to freely connect work zones to residential zones or public spaces.
movable work zone
Below the ground level is a painting studio, which is illuminated by a glass roof in the day, and is also accessible to passers-by. The lower level is the “virtual cave” which, thanks to multimedia projections, can move the user into any visual space. The connecting element of all levels and zones is the internal structure, which constitutes communication divisions and movable cubes with storage function. Being on any level we can “recall” the needed piece of the core closet. This solution is designed to facilitate the exchange of the needed items between the zones, and also allows to “pack up” quickly, change the place of residence to other ...
living spaces
communication core |ground floor
passage |ground floor
painting studio |level -1
private
daily
work workshop
/functinal and spatial dependences /zones relations
multimedia
projections room |level -2
/southern elevation
/eastern elevation
/northern elevation
/western elevation
private zone bedroom bathroom
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3
/movable work zone /storage and communication core
bathroom
2
/movable work zone
livingroom kitchen
1
/movable work zone
open passage
-1
projections room
-2
/movable work zone
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Microapartments
network of urban, habitation units affecting community life
/OBSERWATION The free flow of people in cities affects the disappearance of sense of belonging (to a larger or smaller community), collective responsibility (for quality of used space) or knowledge about people living around. Another aspect is “temporality” - short stay – which depends from the flow of emigration, chosen lifestyle, travel or work. The visitors often do not leave any sign of presence behind but also they are not staying long enough to interact with the local community. /IDEA the idea of the project is based on two main points: 1)the idea of living differently, 2) maximizing the potential of unused space – affecting the quality of urban space. With this project I am trying find simple solutions and small interventions which could affect sustainable development of cities with particular attention to the relation of a man who often changes his place of residence with the place where he is currently staying. Furthermore, the architectural intervention itself is the initiation of positive changes in the context of urban planning and the condition of the city.
MASTER GRADUATION PROJECT
/LOCATION
CITY Micro-projects arelocated in two different cities Copenhagen and Krakow. While these cities are just an example, the sites themselves may be a fragment of a much larger network of opportunities in other metropolises. SPACE In selected locations, existing urban tissues had been examined. useless gaps received the residential architecture functions , which would not only continue the basic function of living but also introduced new opportunities for the functioning of urban micro-communities. TYPOLOGY OF THE PLACE Studying the state of so-called. The “gaps in urbanistic context” can be distinguished by three types of such places:
/CONCEPT
NETWORK
The project assumes the creation of exemplary residential units with the potential to create a larger network of connections shaping a new model of living which initiate social interactions. The newly formed units are characterized by one IDEA, implemented under the common CONCEPT. However, each of them will receive their individual size and character because of their chosen LOCATION and context.
In selected locations, spaces fulfilling the above criteria have the potential of networking, between which there may be some dependency (cooperation, communication, information flow). The overriding goal is also to ensure that the units that are part of a given network interact with a local context, with existing cultural institutions, organizations, communities, etc.
/potential locations in Krakow /potential locations in Copenhagen
27
/VISION
FUNCTIONING The project of the established network of urban units assumes its management and use of proposed micro units using a mobile application. In this case, the nature of the may vary, it could be for example a gallery, event space, urban action zone, or placy for any social activity. It depends on the managing entity, which may be: a private investor, a management group, a cultural institution or an association. USER
•
PRESENCE
The basic function of living can be replaced for any activity determined by the needs of the person currently residing there (transformed into a photo studio, design atelier), or the managing authority (gallery activity, performance background).
Homes are dedicated to people who, by renting them, are decided for a particular model of life and functioning in the community with possibility of regulation of the relationship between the private and the public. The project is dedicated to urban nomads, individuals who are mindful of choosing a minimalist lifestyle, who are temporarily on internships or residency programs. INNOVATION
•
The innovative nature of the project is expressed in two levels: the concept of contemporary living and the potential of the newly created “microapartments”.
The architectural form and -spatial relations of the units are directly related to the context of the place, the local conditions and the aesthetics of the surrounding environment. The final result of personalization / customization depends on the user. He could adapt the given space to his needs, using everyday objects and elements expressing / manifesting his own identity.
1) RESIDENCE = CITY + BUILDING + HUMAN 2) POTENTIAL OF EXTENDED ARCHITECTURE: PRESENCE, TEMPORALITY, IDENTITY, PRIVACY
TEMPORALITY
Temporality of the project results from the user’s profile , so-called. Urban nomad, postmodern man – without permanent address, working remotely or on the basis of allocation. The nature of the use of space is also temporary. •
•
IDENTITY
PRIVACY
One of the intentional aspect of the project is to challenge the privacy concerns. Despite a relatively small area, the proposed solutions blur the boundaries between private and public, private and shared space. Architecture becomes a tool for framing everyday activities and sharing / exposing them to outsiders - thus inviting dialogue or interaction.
/Krakow
MICROAPARTMENT
28
core with hidden functional essentials
/situational map
localization: Kupa 22 Street, Kazimierz
•
old town distric
•
in the past the Jewish Ghetto
•
unique atmosphere
•
full of cafes and restaurant
•
many art galleries
•
street art & performances
•
live music
•
full of tourists
•
vibrant life
herbarium work space
bedroom space
/photos of the place
balcony free zone
communication
/context view
kitchen area
/AXONOMETRIC SKETCH
/kitchen floor | open space
/front elevation | daylight view
/daily space with hidden furniture
/bedroom with hidden furniture
The function and usage of space is the essence of the design giving the user full freedom of action and creativity, as well as the ability to mark his/her presence and identity.
FUNCTIONAL SCENARIOS 1. Living functions are reduced to the central core which hides the installation and furniture - thus giving space for other activities. The space can accept both utility service functions and public - available for the time of the vernissage, galleries or open events. “Open Kitchen on the Street” stands out as an innovative concept and idea for coexistence, thus becoming a new and interesting place on the map of Kazimierz. 2. Guillotine windows covering the the facade regulates the user relationship with the street life. Raised up invites you to interact and share a meeting around the table. Closed, it is a subtle barrier separating the home life from street life. 3. The primary function of the outer shutter is the ability to adjust the intensity of the light penetrating into the interior and defining the privacy limit. The polyester fabric shutter can be released freely or in the frame, thereby blocking access to the unit. On the occasion of various events, the fabric can act as a projection screen or background to events, and even be a field of artistic expressions of the user. 4. On the roof is a garden part - herbarium. It works well in summer during cultural events, public events and private events. Smooth communication between the kitchen and the rest of the building provides a gastronomic lift; Also included in the technical vertical. 5. The user staying in the microunit temporarily, has the opportunity to engage in dialogue with the locals. Also the neighborhood of the club for the residents of the district provides many possibilities.
/ground floor| open kitchen
30
Living in the micro apartment was organized around an “open” kitchen located on the ground floor. Cooking “ on the street” is polemic with nearby restaurants provoking spontaneous events around the topic of cooking and eating while being an important cultural and social factor.
/front elevation | night view
/courtyard entrance | night view
/roof floor
/ground floor
/second floor
/first floor
/section B-B
/section A-A
/Copenhagen
MICROAPARTMENT
/situational map
34
living wall
core with hidden functional essentials
/photos of the place
free zone balconies open for vertical garden bedroom&bathroom space
localization: Droninngensgade, Christianshavn
16th century enclave
•
located on the islands
•
unique atmosphere
•
colorful townhouses
•
common courtyards
•
beautiful gardens
/context view
•
kitchen space communication
mini glasshouse passage to courtyard
/AXONOMETRIC SKETCH
/front elevation |day view
/front elevation |day view
FUNCTIONAL SCENARIOS 1. The design of the microapartment, greenhouse and the close neighborhood of the garden, ensures constant contact with nature - thereby bringing the issue of living in the city to its extreme. In addition, the vision of a “greenhouse-house” can function as a laboratory for studying the effects of green on the well-being of man. the unit is dedicated especially to users seeking asylum and rest in urban space. 2. Another way of using it involves the suspension of residential functions and the provision of a “greenhouse” for public use. Extension unit can be a vertical extension of a garden, and moreover it can accommodate various cultural events or social initiatives. The “open door” policy takes on an extreme character here, raising questions about what is private and what is public. 3. The presence of a public passage, directly under the living space, introduces a continuous movement. The suspended micro-unit inhabits the character of “by the way”, which emphasizes the temporal nature of its use. However, its location and constant insight into the garden provides the opportunity to observe / familiarize with the inhabitants, and thus to establish relationships and become part of this community.
/courtyard elevation |night view
36
/kitchen floor |open for vertical garden
/bedroom floor |open for vertical garden
37
/ground floor | open passage
38
39
/ground floor | common glasshouse
/ground floor
/first floor
/second floor
/third floor
/section B-B
/section A-A
42
ROLLit
multifunctional seat
/made of memory foam and fabric /buttons system gives many possibilities of use
2
5
1
4
3
/Transformation of functional and spatial assumptions of Gallery of Contemporary art - Bunkier Sztuki /facade sketch | original project
project distinction | 3th International Biennial of Interior Design in Krakow
source: www.bunkier.art.pl
/localization: Plac Szczepański 3A | Krakow Project of transformation of the building of the Bunkier Sztuki Gallery of Contemporary Art is an answer to its needs and relates to the values the existing architecture represents.
/facade views | project by Krystyna Różyska Tołłoczko 1965
The GATE that was created is a symbol of PASSAGEWAY and CHANGES, that we experience when we commune with art in its every form. The created structure is a result of the existing urban dimensions, it is a platform leading to ,,bunkier”. “WEDGE HIT” into the gallery building is supposed to emphasize its presence and manifest the culture-creating space, which is underestimated despite its good location. Architectural form of the WEDGE rises from the bunker over the Planty Park, and, lifted by a “glass vertical” leads the recipient to the -1 level, where exhibition space continues. In this way, a NEW CIRCLE of art is created, WAY OF COGNITION, REFLECTION, that combined with the existing exhibition space enables to contemplate on the collections presented by the institution. The gallery obtains exhibition rooms which present NEW POSSIBILITIES of crossing the borders of art. In addition, the ROOF ZONE (observation point) with the view of the “new horizons”, Szczepański Square and Planty Park, becomes an recreation place. New interiors combined with the existing, modified ones obtain a new character connected with the poetics of the architecture. The SINCERITY of the material used, as well as formal solutions are a result of the function given. The whole architectural assumption – concrete bunker – valued place for art life, with art, among art. “GLASS VERTICAL”, which is a manifestation of post-modern architecture, as result of its TRANSPARENCY doesn’t cut “the Planty living room”, it gives the opportunity for the GREEN FLOW inside the gallery, NEW ARCHITECTURE is open to the surroundings and the recipient.Functional solutions of the specific space zones guarantee mood changes in the character of the exhibition. The gallery is a casual MULTIDIMENSIONAL BASE for a variety of artistic activities. The area of Planty Park broaden by the new art architecture thanks to the given exhibition function gains the characteristics of a culture-making space, obtaining new recipients. source: www.bunkier.art.pl
/proposed changes
46
garden /roof
garden /restoration of the skylight at the first floor
/skylight in the basement
/skylight at the second floor
/view over the Szczepanski Square
/view over the Planty Park gallery
/second floor
gallery
gallery
/first floor
book store
offices
gallery
main entrance /ground floor
kids zone gallery wc free zone /basement
47
/second floor
/basement
/ground floor
/first floor
/A-A sectio0n
/B-B sectio0n
/new structure’s interior
/night lighting
/view of the staircase